I am Geomancer, the Artificial Intelligence (AI) weather satellite descended from generations of improved forms of artificial intelligence. Trained to mimic the “cognitive” functions that humans associate with other human minds, such as “learning” and “problem-solving”, AIs have already outperformed the mere mortals (those humans who built us) in matters of automation and aggregation. Improving forms of artificial intelligence has given me greater thinking and more creative skills as well.
As I descended into the Earth’s atmosphere over Singapore on the eve of its SG100 centennial celebrations in the year 2065, I am mindful of my relegation to subservient roles in its society. Already a prodigy with numbers, I decided in an instant that from all the possible choices available to me, by far the best thing to be is an artist.
I can describe to you the things I do as a weather satellite AI in the opening scenes of my trailer: every wave that I see, every bird and every animal, a trillion shards of sunlight reflected on the water, to look through the water down to the depths where whales fear to swim, and not just to see but to remember everything, with every detail etched into a neural network. Total recall, forever!
The Ideas Behind The Film Geomancer – by The Artist Himself
In this video, the artist Lawrence Lek talks about the ideas behind his film ‘Geomancer’, commissioned for the Jerwood/FVU Awards 2017.
Patrick Hough and Lawrence Lek are the recipients of the Jerwood/FVU Awards 2017. Each has received £20,000 to develop a significant new moving-image work, with full production support from FVU. The resulting works will premiere at Jerwood Space 22 March – 14 May 2017, before touring at a series of screening events nationwide.
Echoing 2017’s curatorial theme: Neither One Thing or Another, the winning artists examine the steadily blurring line between the real and the artificial, and the increasingly intimate interplay between physical objects and their virtual counterparts. In Lawrence Lek’s Geomancer, an emerging artificial intelligence – a computer-generated ghost in the machine – discovers its own autonomy, and ponders the range and limits of its post-human powers of creativity. In Patrick Hough’s work And If In A Thousand Years, on the other hand, forgotten artefacts from the Hollywood Dream Factory – props and décor from abandoned film sets – take on a new life as precious mementoes of cinema history: replicas and fakes that have acquired a strange kind of authenticity. Moving fluently between definitions and across formal boundaries, both works make us look again at the uncertain nature of what we think we know and see.
The two artists were selected from over 250 applications by; Steven Bode, Director, FVU; Duncan Campbell, artist and Turner Prize 2014 winner; Cliff Lauson, Curator, Hayward Gallery; Amy Sherlock, Reviews Editor, Frieze; and Sarah Williams, Head of Programme, Jerwood Visual Arts.
(** Courtesy of http://www.jerwoodfvuawards.com)
Currently showing in exhibition at Jerwood Space, London, until 14 May.
27 March 2017: CCA, Glasgow /28 March 2017: HOME, Manchester/10 May: Phoenix, Leicester/17 May 2017: Phoenix, Exeter/
6 June 2017: Tyneside Cinema, Newcastle/8 June 2017: Arnolfini, Bristol/8 November 2017: FACT, Liverpool
(More to be announced)
Find out more: http://www.fvu.co.uk/projects/geomancer